Hey, and the Brouser.

And the Browser.

Hey everybody, welcome to The Wizard and the Bruiser.

I'm the Wizard, Holda McNeely.

And I'm the Bruiser, Jake Young.

This episode, we're going to be talking about Star Wars A New Hope for 30 minutes. Are you ready with the timer, Marcus? Ready? Start the clock! All right, in order to understand Star Wars A New Hope, you really have to start with the life of George Lewis. because he was born in 1944 in Modesto, California,

and he had a passion for cars and motor racing,

which led to his first film, not his first film,

I'm sorry, a later film, American Graffiti, Jake. American Graffiti, people love that shit. People were like, finally, here's the guy. Fuck, I mean, he also did THX, who gives a shit. He did THX 1138, but that was not a very good success. It was a critical success, but American Graffiti was the movie that made him a bunch of money and was very popular with the public.

And so, according to Lucas, he had the idea for Star Wars. very good success. It was a critical success, but American graffiti was the movie that made him a bunch of money and was very popular with the public.

And so, according to Lucas, he had the idea for Star Wars all along. He was like always Mr. Stars. He was just a big Star Wars shaped Eggman who was just going to sprout one day. But nobody liked the idea. Everyone was like, I don't know, it seems like a lot of jibbri goop. But Jake, let's back it up for a second.

He attended Modesto Junior College and then transferred to the University of South Carolina, California. He was roommates with Randall Kaiser, who directed Greece, and he was buddies with Walter Merch, sound designer and film editor with such films as The Godfather Films, the Conversation, Apocalypse Now. Hal Barwood, a game designer who would later go on to create a lot of the games for LucasArts, including the Indiana Jones game that was very popular. And John Millius, writer of Apocalypse Now, Dirty Harry, and Conan the Barbarian. They were a clique of film students and people called them the inwards without attitude. I'm sorry, actually, that's wrong. They called them the dirty dozen. No, everyone was fucking each other. Everyone was all up in each other's business. Like, Francis Ford Coppola was the guy that was like, hey, George Lucas, you should really pitch this Star Wars shit. Like, everyone was connected in this scene. And you have to understand. So he did sell American graffiti. He was pitching the Star Wars and American Graffiti.

And all the execs were like, I don't know what the fuck you're talking about with your spaceships and jib jabs.

I'm going to make this cool 1950s.

Yes, they let him do the cool 1950s thing that was based on his love of cars back when he was a kid.

Also, he was actually due to make apocalypseocalypse now and ended up not doing that.

It was going to be a documentary style film about like soldiers back in the war.

It ended up going to Copla.

Yeah.

Well, he actually told Copla to not do the movie.

He was like, I don't really see anything here that's worth making a film about.

There's a reason why I turned it down.

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